Published Papers by Hannes De Vriese
Cette réflexion examine le motif littéraire du jardin, en prenant appui sur les œuvres de Claude ... more Cette réflexion examine le motif littéraire du jardin, en prenant appui sur les œuvres de Claude Simon (Les Géorgiques, Le Jardin des plantes) et celles de Patrick Chamoiseau (Texaco, Biblique des derniers gestes). Significatif d'un rapport particulier au monde, le jardin amène à prendre en compte des points communs entre les deux auteurs, mais demande aussi à resituer les textes dans un contexte de production particulier. L'œuvre simonienne porte la trace de l'écriture du nouveau roman ; les textes antillais s'inscrivent dans un contexte postcolonial. Dans la littérature contemporaine, le motif du jardin n'induit pas l'évocation d'un idéal pastoral immobile. Au contraire, le jardin apparaît comme un lieu dynamique qui déstabilise l'ordonnancement préconçu par le jardinier, représentant alors un désordre vivant qui déboute l'homme de ses rôles de créateur unique et de destinataire privilégié de l'espace créé. Le jardinier doit négocier un équilibre ; il ne se poste pas en collectionneur de plantes à aménager, mais en figure de l'artiste œuvrant à une « esthétique relationnelle » (Bourriaud, 1998). De même, l'auteur, en se référant au jardin, œuvre selon une poétique de l'interaction. Le jardin apparaît in fine comme un levier privilégié pour une « naturalisation de l'esthétique » littéraire, génératrice d'un biopatrimoine qui n'est pas simple ekphrasis résultant d'une représentation programmée, mais l'exécution d'un geste s'effectuant dans l'urgence situationnelle du kairos. L'espace aménagé répond dans ce cas toujours à un souhait d'équilibre ; seulement celui-ci ne relève pas d'une perspective d'ordonnancement et de catégorisation des espèces, mais bien d'une fabrique végétale dynamique, d'un plein biologique qui paysage l'œuvre littéraire en mouvement.
This study examines the literary motif of the garden in the works of Claude Simon (Les Géorgiques, Le Jardin des plantes) and Patrick Chamoiseau (Texaco, Biblique des derniers gestes). Representative of a special relationship to the world, the garden reveals commonalities between the authors, however, it also requires replacing the texts within a specific context. The Simonian oeuvre bears the traces of the nouveau roman; the texts from the Antilles are expressive of a post-colonial context. In contemporary literature the motif of the garden does not induce the evocation of an immutable pastoral ideal. On the contrary, the garden appears as a dynamic locus which destabilises the pre-designed arrangement of the gardener, thus representing a living disorder which dismisses man from his role as the sole creator and privileged beneficiary of the space created. The gardener must negotiate a balance; he does not present himself as a collector of plants to be arranged, but as an artist intent on achieving «relational aesthetics» (Bourriaud, 1998). In the same way, the author, by referring to the garden, is working with the poetics of interaction. The garden appears in fine as the preferred lever for «naturalising» a literary aesthetic at the inception of a bio-heritage which is not simply the ekphrasis resulting from a planned representation but the execution of a gesture in the situational urgency of the kairos. The developed space always addresses the need for an equilibrium; except that in this case it does not stem from an ordering and categorisation of species, but from a dynamic plant production, a biological profusion which landscapes the literary work in movement.
Cet article propose un panorama de la critique sur le roman L'Acacia de Claude Simon.
écopoétiques
Entretien avec Patrick Chamoiseau à propos de l'écriture de la nature
Figure historique et personnage romanesque. Le général L.S.M. dans Les Géorgiques de Claude Simon, 2015
Dans Les Géorgiques, un ensemble de références implicites désignent la figure de LSM comme un hér... more Dans Les Géorgiques, un ensemble de références implicites désignent la figure de LSM comme un héros prométhéen. Le personnage simonien incarne plusieurs aspects du mythe antique : il est à la fois un homme des Lumières triomphant, maître de soi, de la nature et de la technique et un héros mis en échec et damné. Le général Lacombe Saint-Michel invite ainsi à faire du mythe prométhéen une lecture complexe et contemporaine qui interroge la relation de l’homme à la nature.
Dictionnaire Claude Simon, Nov 2013
Claude Simon Géographe, 2013
The Journal of Quality in Education, Nov 2012
Talks by Hannes De Vriese
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Published Papers by Hannes De Vriese
This study examines the literary motif of the garden in the works of Claude Simon (Les Géorgiques, Le Jardin des plantes) and Patrick Chamoiseau (Texaco, Biblique des derniers gestes). Representative of a special relationship to the world, the garden reveals commonalities between the authors, however, it also requires replacing the texts within a specific context. The Simonian oeuvre bears the traces of the nouveau roman; the texts from the Antilles are expressive of a post-colonial context. In contemporary literature the motif of the garden does not induce the evocation of an immutable pastoral ideal. On the contrary, the garden appears as a dynamic locus which destabilises the pre-designed arrangement of the gardener, thus representing a living disorder which dismisses man from his role as the sole creator and privileged beneficiary of the space created. The gardener must negotiate a balance; he does not present himself as a collector of plants to be arranged, but as an artist intent on achieving «relational aesthetics» (Bourriaud, 1998). In the same way, the author, by referring to the garden, is working with the poetics of interaction. The garden appears in fine as the preferred lever for «naturalising» a literary aesthetic at the inception of a bio-heritage which is not simply the ekphrasis resulting from a planned representation but the execution of a gesture in the situational urgency of the kairos. The developed space always addresses the need for an equilibrium; except that in this case it does not stem from an ordering and categorisation of species, but from a dynamic plant production, a biological profusion which landscapes the literary work in movement.
Talks by Hannes De Vriese
This study examines the literary motif of the garden in the works of Claude Simon (Les Géorgiques, Le Jardin des plantes) and Patrick Chamoiseau (Texaco, Biblique des derniers gestes). Representative of a special relationship to the world, the garden reveals commonalities between the authors, however, it also requires replacing the texts within a specific context. The Simonian oeuvre bears the traces of the nouveau roman; the texts from the Antilles are expressive of a post-colonial context. In contemporary literature the motif of the garden does not induce the evocation of an immutable pastoral ideal. On the contrary, the garden appears as a dynamic locus which destabilises the pre-designed arrangement of the gardener, thus representing a living disorder which dismisses man from his role as the sole creator and privileged beneficiary of the space created. The gardener must negotiate a balance; he does not present himself as a collector of plants to be arranged, but as an artist intent on achieving «relational aesthetics» (Bourriaud, 1998). In the same way, the author, by referring to the garden, is working with the poetics of interaction. The garden appears in fine as the preferred lever for «naturalising» a literary aesthetic at the inception of a bio-heritage which is not simply the ekphrasis resulting from a planned representation but the execution of a gesture in the situational urgency of the kairos. The developed space always addresses the need for an equilibrium; except that in this case it does not stem from an ordering and categorisation of species, but from a dynamic plant production, a biological profusion which landscapes the literary work in movement.